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MALETÍN DE XAVIER CUGAT

Barcelona és bona si la bossa sona. Suitcase of the 7th of July, containing:1 original drawing of Xavier Cugat10 lithos of Barcelona signed by the author.1 plate silkscreened with "Sant Jordi "1 record with great successes of X. Cugat.1 original fan of X. Cugat. Cugat.429 copies have been made: 365 copies corresponding to each day of the year.52 copies with the weeks of the year.12 copies with the months of the year.

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MALETÍN DE XAVIER CUGAT

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For sale on Thursday 11 Jul : 16:00 (CEST)
barcelone, Spain
Bonanova Subastas S.L
+34932121808
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FERRÁN GARCÍA SEVILLA (Palma de Mallorca, 1949). "Bol 16", 2005. Acrylic on canvas. Signed on the back. Provenance: Joan Prats gallery in Barcelona. Attached a label of the gallery Joan Prats. Measurements: 152 x 172 cm. In this composition of festive character, without ceasing to be conceptual and intellectual (in the line of the bulk of his pictorial experimentations), García Sevilla dialogues with the legacy of abstract expressionism and even with pointillism to hatch this heritage in chromatic supernovas. Initially linked to art theory and criticism, García Sevilla has been a professor of Fine Arts in several universities. He made his individual debut in 1972. After starting his artistic career in conceptual art, he ended up in painting and graphics, framed in the so-called postmodern art. He usually arranges well-defined figures, often anthropomorphic, on neutral backgrounds or with insistently repeated motifs. He uses rich, vivid and contrasting chromatic ranges, with a simplified language, sometimes close to primitive art. García Sevilla's enormous paintings, his forceful images, his often brutal humor, the texts that occupy part of the surface of these paintings, his expressive capacity, have become familiar to Spanish viewers as well as to those of other countries. Endowed with an imagination almost as prodigious as his will, García Sevilla is a veritable machine for producing paintings, for devouring and transforming images. All this finds its translation in the verbal plane: since his famous interview with Kevin Power, collected in the latter's book "Conversations with..." (1985), nobody doubts that García Sevilla is one of the Spanish painters who has more things to say, and who, under an appearance of improvisation and, if necessary, delirium, gives more turns to the meaning of his work. In this aspect, his case is reminiscent of that of Miró, to whom he has always shown great admiration. He has had solo exhibitions in Europe and the United States, and participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon, and several Spanish cities, as well as in the Documenta in Kassel (1987) and the Biennials of Istanbul (1989) and São Paulo (1996). Among the personal exhibitions he has held in recent years are those at the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008). García Sevilla is represented at the Centre Pompidou in Paris - National Museum of Modern Art, the Reina Sofía National Museum, the MACBA in Barcelona, the Atlantic Center of Modern Art in Las Palmas, the CaixaForum in Barcelona, the Suñol Foundation, the Ico Collections Museum, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Juan March Foundation, the Patio Herreriano Museum in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.

RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894). "La model". Oil on canvas. Relined. Without signature. Attached to the back a label of the Sala Parés in Barcelona. It has patches on the back. Measurements: 182 x 89 cm. With the feet wrapped in a cloth that slides down the legs, the model is shown naked and full body but turns her head as if she wanted to hide her identity, while adopting an ambiguous gesture deceptively modest. Martí Alsina's women are of great carnal forcefulness, which here is accentuated by the black background and by the natural size of the figure. The shaping of their limbs is masterly, which gives the anatomy a sculptural cadence but is free of all idealism, making it vivid, spontaneous and sensual. The silky qualities of the jet hair, the luminous modeling of the forms, the perfect roundness of the knees, etc. denote the imprint of a master. Considered today as the most important figure of Spanish realism, Martí Alsina is framed within the European avant-garde of the time. He revolutionized the Spanish artistic panorama of the 19th century, was a pioneer in the study of life drawing and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in Philosophy and Literature, alternating them with night classes at the School of Fine Arts in Barcelona until 1848. Once he finished this first apprenticeship and decided to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession to the throne of Amadeo de Saboya. In 1853 he traveled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French romanticism. Later he would become acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed corresponding academician of the Academy of Fine Arts of Sant Jordi in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From that moment on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exposition of the French capital in 1889. Among his prizes, the medals obtained in the National Exhibitions of Madrid stand out, third in 1858 with the work "Last day of Numancia" and second in 1860 with his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with a brushstroke close to impressionism. Among his themes we find numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. On few occasions he dedicated himself to still life, although he also painted some of them. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza, the National Museum of Art of Catalonia, the Museum of Contemporary Art of Barcelona, the Museum of the Abbey of Montserrat and the Museum of l'Empordà, in Figueras.